By Walter Piston
First released in 1955. A booklet on orchestration by way of one of many most suitable song theorists. Very readable PDF.
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She was buried in a common grave in the cemetery of Alto de São João, although her fame lived on, and over the decades was transmuted into the pure gold of the performing genius. Many years later, Catherine, Lady Jackson, was one such titillated visitor to Lisbon, looking for the piquancy of the fado underground. The widow of a British diplomat, Lady Jackson provides useful guidance on how one might recognize a fado The fado milieu ‘According to ethnologist Pais de Brito, the fado emerged in certain Lisbon neighborhoods during the second half of the 19th century.
The slight limp that resulted would indicate the battle-hardened status of the man. Turkish influence If this is a fanciful snapshot of early rembetika, it is one that is unavoidably seen through the lens of the genre’s own capacity to mythologize itself. As soon as rembetika began to move, so it changed. In one important aspect, this change was forced upon it. In 1922, the Turkish army overran the Greek-administered city of Smyrna (now Izmir) on its western seaboard. The Turkish advance was, in itself, a response to the Greek government’s exercise of its long-held megéli idéa – the ‘great idea’ to bring large chunks of the ancient Byzantine Empire into the new Greece.
The process was similar to that of the Argentinean tango, the French songs from factory towns, the Brazilian samba, or the rembetika of Athens. In all cases, they are phenomena of industrial or harbor towns in the last century, in social milieux characterized by relative social marginalization. The themes are equally similar: love, jealousy, treason, virility, mother-son relationship, the familiarity of death, the dichotomy between rich and poor, painful experiences from which one wants to escape but which, at the same time, confer identity.